Puccini, Giacomo

Puccini - La Boheme / Pavarotti, Scotto, Niska, Wixell, Plishka, Levine, Metropolitan Opera

Puccini - Turandot / Franco Zeffirelli - Marton, Domingo, Mitchell, Plishka, Cuenod - James Levine, MET (1988)

Puccini - Tosca / Kabaivanska, Domingo, Milnes, Luccardi, Mariotti, Bartoletti

Opera is an inherently theatrical medium that does not lend itself readily to the realism of film treatment. The shining exception is Puccini's Tosca, an action-packed melodrama that unfolds in three taut and gripping acts like the meatiest of Hollywood films noir. And unlike most operas, these three acts are set in three very specific Roman locales. Thus this 1976 film takes place in the church of Sant'Andrea della Valle (Act 1), the Palazzo Farnese (Act 2), and the Castel Sant'Angelo (Act 3). The evocative settings, however, would be mere window-dressing if the cast wasn't just right. Fortunately Plácido Domingo is at his virile peak in the heroic tenor role of Cavaradossi; Raina Kabaivanska is a sultry, vocally beautiful Tosca; and a more infamous and domineering Scarpia than that of Sherrill Milnes can hardly be imagined. Bruno Bartoletti and the New Philharmonia Orchestra give lustily dramatic support. Here the music and vocals are prerecorded and the singers mime to the playback. Occasionally the result is a little unnatural, but overall the cast members are good enough actors to bring off the conceit even in the close-ups. It all pays off triumphantly with the gripping realism of the rooftop finale, the one place where film can improve on stage. With the authenticity of the settings assured and such distinguished leads singing so well, this is an almost ideal filmed Tosca. --Mark Walker

Puccini - Madame Butterfly / Huang, Troxell

Like the finest of film scores with its fluid beauty and succession of intensely romantic tunes, Puccini's opera Madame Butterfly has a surprisingly cinematic feel. In 1995 director Frederic Mitterand exploited this quality of the story, exposing a young woman's disillusionment against a backdrop of cultural chasms. Shot on location, with Tunisia doubling convincingly as a turn-of-the-century Nagasaki, this Butterfly shines with fragile beauty. The house becomes a brilliantly used set, at once airy and full of the scent of flowers and at the same time a cage for the trapped woman. Archive footage of bygone Nagasaki is used skillfully to underline the distance between the 15-year-old bride and Pinkerton.

Purists may prefer a more traditionally robust, stage-bound Butterfly, but you'd be hard-pressed to find a more visually heartbreaking interpretation. Chinese soprano Ying Huang doesn't rock the rafters with her vocal power; hers is a tender, delicately observed performance. Tenor Richard Troxell's self-seeking Pinkerton is well sung. Overall, this is a haunting cinematic treatment of an enduringly popular opera. --Piers Ford

Madame Butterfly is the heartwrenching story of a beautiful young geisha who sacrifices her family, her religion and, ultimately, her life for her American husband. Butterfly is the young bride of Lieutenant Pinkerton, who buys Butterfly's love while stationed in Japan and with no intention of ever taking her home to America. Martin Scorsese presents this award-winning film based on the popular opera. 133 minutes. Cast:

Ying Huang: Cio-Cio-San
Richard Troxell: Pinkerton
Ning Liang: Suzuki
Richard Cowan: Sharpless
Jing Ma Fan: Goro
Christopheren Nòmura: Prince Yamadori
Constance Hauman: Kate Pinkerton

Puccini - Madama Butterfly

Of all Puccini's major operas, the intimate tragedy of Madama Butterfly is least in need of elaborate staging and might therefore benefit most from the close scrutiny of film. The story is domestic, the setting Spartan, the incidental characters kept to a minimum. This 1974 version, however, demonstrates that Butterfly still needs a healthy injection of proscenium arch melodrama. Director Jean-Pierre Ponelle's production strives for realism but remains unfortunately studio-bound, having neither the benefit of location filming nor the heightened reality of an opera stage. The exterior is a perpetually fog-shrouded heath of indeterminate locale; the interior is cramped and unadorned. The setting is just too prosaic to contain the epic emotions of grand opera.

Thankfully, the cast is a superb one, headed by Plácido Domingo's rakish Pinkerton and Mirella Freni's rubicund Butterfly. Their singing is incomparable, as is Herbert von Karajan's musical direction of the Vienna Philharmonic. The singers mime to prerecorded music, which is occasionally disconcerting since when film demands close-ups, opera provides broad gestures. Musically, this Butterfly is impeccable. Visually it adds nothing that could not be seen to better effect in a stage version. --Mark Walker

Puccini: Turandot [DVD Video]

Puccini - Turandot at the Forbidden City of Beijing / Mehta, Casolla, Larin, Frittoli, Maggio Musicale Fiorentino

The first DVD edition of Puccini's last opera (left not quite complete at his death) immediately becomes the best available in any video format. It is likely to keep this status for quite a while, though the music comes across more powerfully in several audio-only editions.

The visual challenges of Turandot are formidable, and they are met spectacularly in this production, filmed on location in the Forbidden City, where the story takes place. Turandot is a princess to die for. Dozens of foreign princes have literally lost their heads after seeking her hand in marriage and failing to solve three riddles. Ideally, a Turandot should have the voice of Birgit Nilsson, she should have the looks and acting skills of Teresa Stratas in her prime, and it's nice if she at least appears Chinese. Soprano Giovanna Casolla scores a B-plus on these requirements, and that's about the best we can expect. Among other principals, tenor Sergej Larin sings well, looks right, and doesn't really try to act (probably a wise decision). Soprano Barbara Frittoli is superb and the supporting cast is generally good. But what makes this production unique is the setting; you are there in ancient Peking, with its real buildings, flags, armor and uniforms, costumes, and statues of dragons and other legendary monsters.

This is one of the first operas intended for original release on DVD; others were initially issued in more limited formats and have kept their original limitations in the new format. The wider range of options on DVD is significant. Those who will settle for audio-only recordings, which cost about the same and offer much less, should try either of Birgit Nilsson's CD editions (with Björling or Corelli) or Joan Sutherland's. Both of these great divas are, alas, visually inappropriate, offering another argument for this striking visual re-creation. --Joe McLellan.

Puccini - Il Trittico

Puccini - Manon Lescaut / Sinopoli, Domingo, Te Kanawa, Allen, Royal Opera Covent Garden

Placido Domingo and Kiri Te Kanawa were in top form vocally when this performance was recorded in 1984; Sinopoli's conducting is energetic and stylistically distinctive, and the staging strikes the proper notes of elegance in the early scenes and pathos in the tragic conclusion. This is not the only good video recording of Puccini's first masterpiece, but it ranks with the best.

Manon Lescaut is the story of a beautiful young woman who goes astray en route to a convent and drifts into life of self-indulgence, sexual exploitation, and crime, leading to her death as a convict, a story full of operatic situations. It inspired two operas in the standard repertoire, Puccini's and Massenet's earlier Manon. Puccini took a big risk going mano a mano with Massenet, but it worked; he did not eclipse Massenet, but this work gave his career a major boost. This production shows why it has captivated so many audiences. --Joe McLellan

"Manon", wrote Puccini to his publisher Giulio Ricordi in 1889, "is a heroine I believe in and therefore she cannot fail to win the heart of the public." This turned out to be a truly prophetic statement since none of Puccini's other world successes were received on their first nights as rapturously as Manon Lescaut. The popularity of Puccini's great masterpiece has never waned and the highly acclaimed Götz Friedrich production at Covent Garden was hailed as an operatic milestone. Two of the world's leading stars--Kiri Te Kanawa and Placido Domingo--head a strong cast conducted by the brilliant Italian conductor Giuseppe Sinopoli. Sung in Italian with English subtitles.

Puccini - Tosca (remastered)

This is the best of Placido Domingo's several video performances as the painter Cavaradossi, lover of the prima donna Floria Tosca and enthusiast of revolutionary ideals in the repressive atmosphere of Napoleonic-era Rome. His colleagues, Cornell MacNeil and Hildegard Behrens, are both seasoned and highly capable performers who make the deadly confrontation between Tosca and the corrupt police chief Scarpia intense and believable. Guiseppe Sinopoli conducts with style and dramatic power. But in many ways the primary reason for wanting Tosca in a video rather than an audio recording is the staging by Franco Zeffirelli--effective for the few thousand who saw it in the opera house but even more effective on camera for the much larger television and home video audience. He shifts easily from the small-scale duets in Act I to the grandiose spectacle of the "Te Deum" just before the curtain. His attention to small details helps build the tension in Act II to its violent climax, and in Act III he gives poignancy to the abrupt shift from hope to despair. The essence of Tosca is melodrama, and the singers, conductor, director, and audience all revel in it. --Joe McLellan